Here at THE VINYL DISTRICTwe're good consumers. All Mp3's are posted to promote and give exposure to the music and are linked for a limited time. Please download to preview, then head promptly to your local vinyl vendor (or - OK, CD store too) and fork over your hard earned cash. You'll appreciate the piece of mind.

Got something you think we should be listening to or reading? thevinyldistrict (at) gmail.com

Wednesday, September 17, 2008

Those readers with a keen eye on all things DC will recognize that we've been highlighting bands over the past few weeks from the roster of local label The Kora Records (upon whom BYT had a rather excellent feature this week.) A big thanks goes out to Mike Fink for putting the entire Kora/TVD mashup together--which actually continues today as we chat with Mary Lorson from The Piano Creeps:

"The Piano Creeps is a collaboration between Billy Coté, Kathy Ziegler, and myself. We started informally, just talking about it, a few years ago, but it was Billy and Kathy who really made the record happen. I was just beginning a new teaching job, in addition to dealing with some health problems, so I didn't have much free time, but Billy and Kathy would meet every Tuesday. They would construct tracks and play them for me and we'd confer and eventually the project became an album. They really did the spadework--I was just the lucky stiff who got to step in, bring a couple songs, and sing. But somehow this patchwork collection does represent all three of our rather divergent and personal zeitgeists, and I'm happy we made it."

"In our old band Madder Rose, Billy was the boss and main songwriter; after that, I put together Saint Low and was the one who made the big choices. Kathy makes her living as a session and road player, but has been in charge on all of her solo records. So I guess the interesting thing about this collaboration is that we're three opinionated people with our own styles who are rather used to creating situations where we get to be control freaks. But with this project we all really did a good job of letting go and being curious. I've made a bunch of records now, and this one developed the most organically, process-wise. It came together more the way Billy and I work on the film music, where we explore every valid idea until the piece shows itself as either work-able or not. The gigs have been a really fun extension of this ease and trust we have, so we're looking forward to getting together this month to play gigs around the Kora release of "Future Blues"."